Ef lens work_book_3_en

24
All photographs in The Lens World were taken with EOS DIGITAL SLR cameras.
Availability of the lens may vary from area to area.
The EF LensWorldSingle focal-length lenses

2625 Ȝ Aspherical lens Ȝ UD lens Ȝ Fluorite Ȝ DO lens
EF 15mm f/2.8 Fisheye
EF 15mm f/2.8 Fisheye·1/640sec.·f/16
Ȝ Focal length and maximum aperture: 15 mm 1:2.8
Ȝ Lens construction: 8 elements in 7 groups Ȝ Diagonal angle of view: 180°
Ȝ Focus adjustment: Overall linear extension system with AFD
Ȝ Closest focusing distance: 0.2 m/ 0.7 ft., 0.14 x magnification
Ȝ Filter size: Rear drop-in gelatin filter holder
Ȝ Max. diameter x length, weight: ø 73 x 62.2 mm, 330 g/ 2.9” x 2.5”, 11.6 oz.
An amazing world in 180°: a fisheye lens that goes beyond the
limits of human vision and delights the eye.
Camera lenses have what is called an angle of view, which is the
limit within which the subject can be photographed in accordance
with the focal length and the imaging format, similar to human
vision. The angle of view of standard lenses, which is thought to
be near that of the human eye, is approximately 50°, while that of
a 15mm fisheye lens is 180° (diagonally across the frame in the
35mm format). This means that almost everything that is in front
of the camera is included in photographs taken by fisheye lenses,
such as the sky above, the ground below, and surrounding
scenery far to the left and right, which would normally have to be
looked at by turning the head and would not therefore be visible
in normal vision.
Since fisheye lenses put everything within an angle of view of
180° onto the film or a 24 x 36mm image sensor, there is much
distortion around the edges of the photograph. All straight lines
outside the center of the photograph become curved. The stronger
the hyperfocal effect, which puts everything in the picture into
focus, the larger the objects at the center appear. Meanwhile,
objects near the edges of the frame are extremely warped,
creating a tremendous feeling of perspective. Incidentally, the
name fisheye was first applied to this type of lens because this is
how a fish underwater sees the outside world when it looks up,
an effect which is related to the ratio of refraction of light.
However, when using fisheye lenses, it is important to remember
that the visual impact is so strong that photographers need to be
careful not to let the lens choose the picture instead of their own
artistic or photographic sensibility. Used skillfully, this type of lens
can open unique vistas of expressive possibility, as well as being
able to act as an ultra-wide-angle lens thanks to the fact that lines
in the center of the picture are not deformed.
a EF 15mm f/2.8 Fisheye
This fisheye lens with an 180° diagonal view can impart an
extraordinary expressiveness to photographs. Even under conditions
where manual focus would be difficult, the autofocus delivers sharp
focus quickly and accurately. Fisheye lenses are in a class of their
own for specialised photographic situations, demonstrating their
unique perspective and hyperfocal effect when photographing
objects as close as 0.2m/0.7ft. from the focal plane. The rear drop-in
gelatin filter holder makes for easy filter work.
EF 15mmUltra wide-angle lenses

2827
EF 14mm f/2.8L USM
EF 14mm f/2.8L USM·0.3sec.·f/5.6
Ȝ Focus adjustment: Ring-type USM, rear focusing system, full time manual focus
Ȝ Closest focusing distance: 0.25 m/ 0.8 ft., 0.1 x magnification
Ȝ Filter size: Rear drop-in gelatin filter holder
Ȝ Max. diameter x length, weight: ø 77 x 89 mm, 560 g/ 3” x 3.5”, 1.2 lbs.
A 14mm lens covers a tremendous field of view in the 35mm
format: creating a surreal effect only possible in photographs
that go beyond a human perspective
Lenses with an ultra-wide focal length of 14mm can photograph
an entire 114° wide-angle view in the 35mm format, equivalent to
looking out the windshield of your car and seeing everything in
one glance. This wide-angle view is most effective for
photographing buildings from which you cannot get far enough
away to take a good picture, as well as very small interiors. The
strong perspective effect of this lens can also be seen in the daring
expressiveness of landscape photographs. In portrait photography,
the use of an ultra wide-angle lens can create a strong sense of
separation between subject and background.
With this type of lens, the camera angle has a significant effect on
the resulting photographic image, creating a very dynamic
outcome. By holding the camera level, a more natural feeling with
minimal perspective distortion results, but tilting the camera up
or down even slightly causes vertical lines to appear to converge
or taper dramatically. These results are particularly effective for
artistic architectural photography.
a EF 14mm f/2.8L USM
A high-quality ultra wide-angle lens featuring clear, sharp
imaging performance with minimal distortion. This lens employs
a large-diameter ground and polished aspherical glass element in
the first lens group to thoroughly correct the type of rectilinear
distortion often seen in photography of buildings. Also, through
use of a rear focusing system, astigmatism is corrected at close
focusing distances and high-speed autofocusing is achieved. A
built-in petal hood improves contrast, prevents vignetting and
protects the front element of the lens. The ultrasonic focusing
motor allows manual focusing at any time without switching the
focus mode. This lens is also very effective as an ultra wide-angle
lens for digital SLR cameras, whose imager size is usually smaller
than that of 35mm film cameras.
Ȝ Aspherical lens

3029
EF 20mm f/2.8 USM
EF 20mm f/2.8 USM·1/350sec.·f/5.6
Ȝ Focus adjustment: Ring-type USM,rear focusing system, full-time manual focus
Ȝ Closest focusing distance: 0.25 m/ 0.8 ft., 0.14 x magnification Ȝ Filter size: 72 mm
Ȝ Max. diameter x length, weight: ø 77.5 x 70.6 mm, 405 g/ 3.1” x 2.8”, 14.3 oz.
Wide angle. Extreme depth of field.
The ultra wide-angle 20mm lens can be used almost anywhere.
Ultra wide-angle lenses are characterised by a dynamic wide-
angle effect which goes beyond human visual perspective.
Exaggerated perspective foreshortening makes subjects nearer to
the camera appear very large, with a rapid decrease in size as
they move further away. A pan-focus effect with everything
appearing sharp from foreground to background is thus easily
achieved, even when shooting at large apertures.
While delivering a wide-angle view of 94°, which puts everything
inside the human field of vision into the photograph, the 20mm
lens nevertheless allows a more natural feeling to be achieved,
without the extreme foreshortening effect which dominates
photographs taken by the 14mm lens. This lens is ideal if you
want to take documentary photographs or portraits that have a
slightly out-of-the-ordinary feel and a strong sense of presence,
without losing their realism. This lens has a broad range of uses
as an ultra wide-angle lens, good for everything from architectural
and interior photography to general snapshots and landscape
photography.
a EF 20mm f/2.8 USM
A rear focus mechanism with a floating effect moves the rear lens
group internally to correct close-distance aberrations while
focusing the subject. Crisp, sharp images are possible from the
minimum focusing distance of 0.25m/0.8ft. to infinity. The
combination of the rear focusing design with an ultrasonic motor
achieves fast and silent autofocusing. Of course, manual focusing
is possible at all times without switching modes. Since the front of
the lens does not rotate during focusing, superior operability is
obtained with circular polarizing filters. This lens is good for
active photographers who already have a standard zoom lens but
want a lens that will give their landscape photography and
snapshots a broader feeling.

3231
EF 24mm f/2.8
EF 24mm f/1.4L USM·5sec.·f/8
Ȝ Focus adjustment: Rear focusing system with AFD
EF 24mm f/1.4L USM
Ȝ Focus adjustment: Ring-type USM, rear focusing system, full-time manual focus
Ȝ Max. diameter x length, weight: ø 83.5 x 77.4 mm, 550 g/ 3.3” x 3.1”, 1.2 lbs.
A 24mm lens adds a powerful sense of presence to subjects
photographed up close. An impressive range of photographic
expression broadened by the availability of large apertures.
The wide-angle 24mm lens delivers a broad angle of view, so
proper use of its strong perspective and clear imaging
performance allows a real sense of separation to be achieved
between the subject and its background. While offering less
dynamic effects than its super-wide-angle counterparts, this lens
provides a beautiful blur effect in the background when the lens
aperture is opened up fully, while at the same time offering
outstanding imaging performance emphasising the unique
perspective available with wide-angle lenses. Taking portraits very
close to the subject can also add a tinge of other-worldliness to
the image – an effect typical of wide-angle lenses. Of course, these
lenses are at their best when photographing expansive landscapes
without losing the vastness of the image.
A versatile 24mm lens which boasts the largest maximum
aperture in its class at f/1.4. Its superlative optical design
combines both ground aspherical lens elements and UD lens
elements to thoroughly control all forms of distortion, including
astigmatism, spherical aberration and the severe chromatic
difference of magnification often seen in digital SLR cameras. The
use of floating construction provides high picture quality from the
closest distance of 0.25m/0.8ft. through the entire focusing range.
A non-rotating filter mount ensures outstanding operability.
a EF 24mm f/2.8
Incorporation of rear focusing superbly compensates for all
aberrations at any shooting distance, including extreme close-up,
achieving very clear images. Since the length of the lens is always
the same and the hood and filter mounts are designed not to
rotate, operability with circular polarizing filters is sublime.
Compact and easy to use, this is a fast, accurate autofocusing lens
with unrivalled maneuverability.
EF 24mmWide-angle lenses
Ȝ Aspherical lens Ȝ UD lens

3433
EF 28mm f/2.8
EF 28mm f/1.8 USM·1/350sec.·f/11
Ȝ Focus adjustment: overall linear extension system with AFD
Ȝ Closest focusing distance: 0.3 m/ 1 ft., 0.13 x magnification Ȝ Filter size: 52 mm
EF 28mm f/1.8 USM
A 28mm lens providing photography with high mobility while
utilising visual effects typical of a wide-angle lens
Objects photographed with a wide-angle lens appear larger the
closer they are to the camera, so use of wide-angle lenses is ideal
for maintaining an ample perspective balance between subject
and background. Of all the wide-angle lenses available, however,
28mm lenses are the most effective in this regard, not only for
landscapes, of course, but also when moving in on the subject for
portraits, delivering a strong sense of presence for the objects
surrounding the subject while also giving even everyday subjects
a hint of something different.
It goes without saying that 28mm lenses are also very useful for
indoor snapshots that require a wide angle of view or for
photographs of large groups of people. And since astigmatism and
distortion are very low due to their fixed focal length, these lenses
are useful for architectural photography.
a EF 28mm f/1.8 USM
This is a large aperture lens that provides impressively natural
delineation and beautiful shading, as well as excellent
performance for indoor photography taking advantage of the
bright maximum aperture of f/1.8. The optical system
incorporates aspherical lenses, which not only keep the lens size
down but also reduce spherical aberration and deliver sharp
picture quality. A flare-cut diaphragm installed behind group 1
blocks unwanted light to ensure highest contrast. Operability is
enhanced by inclusion of a ring-type USM for silent, high-speed
AF with full-time manual focus and a non-rotating filter mount.
a EF 28mm f/2.8
Incorporation of a glass-molded aspherical lens element enables
use of a simple yet effective 5-element, 5-group lens construction.
This results in an extremely compact, lightweight optical system
which achieves super-fast autofocusing with an extension type
focusing system, while delivering sharp, high-contrast image
quality. Distortion is virtually nonexistent, making this lens ideal
for architectural photography and other scenes containing straight
lines.
EF 28mmWide-angle lenses
Ȝ Aspherical lens
Ȝ Aspherical lens

3635
EF 35mm f/2
EF 35mm f/1.4L USM·0.6sec.·f/2.8
Ȝ Focal length and maximum aperture: 35 mm 1:2
Ȝ Focus adjustment: Overall linear extension system with AFD
EF 35mm f/1.4L USM
Ȝ Max. diameter x length, weight: ø 79 x 86 mm, 580 g/ 3.1” x 3.4”, 1.3 lbs.
35mm: A focal length that delivers a subdued perspective and
natural delineation similar to the human eye.
This lens offers a natural approach to subjects that is almost like
that of a standard lens. But when you want to get a little more
‘presence’ in your photographs, with more breadth and depth in
the visual plane, a 35mm lens is ideal. The expressive possibilities
of these lenses range from sharply defined foreground and
background utilising a blur effect when the aperture is wide open
or when taking close-up photographs, adding a different tone
from that achievable with standard wide-angle lenses, and
hyperfocal effects with the aperture stopped down all the way to
give the photograph a sense of visual tension.
The slightly wider angle of view and the brightness of the
maximum aperture values are also valuable assets for scenic
photography using natural light. These lenses are particularly
useful when photographing in low light conditions which would
cause zoom lenses to lose effectiveness. These wide-angle, single
focal length lenses can be used in many different situations, from
indoor photography with straightforward perspective to portraits
and snapshots.
This lens boasts the brightness of the largest aperture in its class.
Its 9th element is a ground aspherical lens that thoroughly
eliminates spherical aberration and distortion. It achieves
extremely sharp, faultless picture quality only possible with a
single focal length lens. A floating mechanism maintains the
lens’s superior image quality from infinity to the closest shooting
distance of 0.3m/1ft. The non-rotating filter mount provides easy
operability with circular polarizers and other types of filters.
a EF 35mm f/2
The simple 7-elements, 5-groups lens construction utilising a short
zoom lens design method achieves a brightness of f/2 in a
lightweight and compact design. This efficient lens construction
combines with a multi-layer coating treatment to achieve very
clear imaging performance with virtually no ghosting or flare. The
minimum focusing distance is 0.25m/0.8ft. – the shortest in its
class – making it possible to take close-ups at a magnification of
0.23x, despite the wide angle of the lens.
EF 35mm
Wide-angle lenses
Ȝ Aspherical lens

3837
Natural images close to the perspective of the human eye.
A standard lens that, once mastered, proves its worth in any
situation.
Photographs taken with a standard lens have a natural angle of
view and an undistorted feeling of distance. And because the lens
has about the same angle of view as the human eye, it demands
much more from the photographer. The key to using a standard
lens is to strike a winning combination of distance from the
subject, perspective, and background blur. For example, by using a
small aperture with low- or high-angle shots, you can create a
feeling just as dynamic as that created with a wide-angle lens.
Even when using a more conventional angle, a large aperture can
be used to soften the background and obtain an image similar to
the results obtained with a medium telephoto zoom lens. And by
paying close attention to perspective and composition in close-
ups, you can achieve professional-looking results. Indeed, the
50mm lens is the one lens that allows photographers to take
advantage of all the principles of lens work.
This standard lens features a super-wide maximum aperture of
f/1.2. Taking advantage of shallow depth of field allows the
photographer to capture subjects with impact, such as for
wedding portraits. Use of an aspherical lens effectively corrects
spherical aberrations and delivers sharp, high-contrast images
even with the aperture fully open. Another attractive aspect of the
lens is its circular aperture that creates beautiful background blur.
Coupled with silent, high-speed autofocusing and full-time
manual focus override for subtle focusing adjustment, this lens
satisfies professionals both in image quality and operability.
a EF 50mm f/1.4 USM
By optimally distributing power with a gauss type design and two
high-refraction glass lenses, flare at maximum aperture is
minimised and astigmatism is greatly reduced. Moreover,
improvements in the quality of the focused image and the
beautiful natural blur of the background are simultaneously
achieved. Use of a Micro USM (Micro Ultrasonic Motor) provides
fast, silent autofocusing, as well as full-time manual focus. The
colour balance is virtually identical to the ISO recommended
reference values.
a EF 50mm f/1.8@
An orthodox 6-element, 5-group construction allows high image
quality and natural expressiveness throughout the entire focusing
range from infinity to the closest focusing distance of 0.45m/1.5ft.
A simple cam-type drive is used in the focusing system, providing
quick, quiet autofocusing and achieving a light weight of 130g/4.6
oz. Neutral colour balance achieves colour reproduction that is
nearly identical with the ISO recommended values. And with a
price that won’t break the bank, the fun of a single focal length
lens with a different attitude from a standard zoom lens is
available to everyone.
EF 50mm f/1.4 USM
Ȝ Focus adjustment: Micro USM, overall linear extension system, full-time manual focus
Ȝ Max. diameter x length, weight: ø 73.8 x 50.5 mm, 290 g/ 2.9” x 2”, 10.2 oz.
EF 50mm f/1.8@Ȝ Focal length and maximum aperture: 50 mm 1:1.8
Ȝ Focus adjustment: Overall linear extension system with Micromotor
Ȝ Max. diameter x length, weight: ø 68.2 x 41 mm, 130 g/ 2.7” x 1.6”, 4.6 oz.
EF 50mmStandard lenses
EF 50mm f/1.2L USM
Ȝ Focus adjustment: Ring-type USM, overall linear extension system, full-time manual focus
Ȝ Aspherical lens
EF 50mm f/1.2L USM·1/80sec·f/1.2

4039
EF 85mm f/1.8 USM
Ȝ Lens construction: 9 elements in 7 groups Ȝ Diagonal angle of view: 28° 30’
Ȝ Max. diameter x length, weight: ø 75 x 71.5 mm, 425 g/ 3” x 2.8”, 15 oz.
EF 85mm f/1.2L@USM
Ȝ Focus adjustment: Ring-type USM, front group linear extension system, full-time manual focus
Ȝ Max. diameter x length, weight: ø 91.5 x 84 mm, 1,025 g/ 3.6” x 3.3”, 2.3 lbs.
EF 85mmMedium telephoto lenses
EF 85mm f/1.2L@USM·1/640sec.·f/2
The 85mm medium telephoto lens is also known as the “portrait
lens.” It brings any image to life with a bright natural look.
With the perspective of the eye when looking closely at an object,
85mm lenses are often called “portrait lenses,” because their
natural perspective and blur effect makes them ideal for this
purpose. Full-length photos of female models, head-and-shoulders
portraits, and photographs that accentuate the subject by setting it
off from the background are particularly well suited to this type of
lens, with its natural feel. You can also take advantage of the
brightness of the lens itself for taking naturally lit dusk and
indoor shots – an appealing capability unavailable with zoom
lenses.
a EF 85mm f/1.2L@USM
An upgraded version of the EF 85mm f/1.2L USM, widely deemed
the “gold standard” for professional portrait work, this lens is the
brightest in its class and offers beautiful out-of-focus effects. By
virtue of its precisely ground aspherical lens, which adeptly
compensates for spherical aberrations and other distortions, this
lens displays exquisite detail and high contrast even at f/1.2. And
with the incorporation of a floating lens mechanism, aberration
fluctuations are substantially reduced at short and medium
distance shots to ensure extremely sharp, quality images
consistently at all shooting distances. We have also dramatically
sped up AF performance in response to requests from
professionals. A faster CPU and optimised AF algorithm allow the
lens to focus instantaneously for reliable capture of fleeting photo
opportunities. This lens is even more pleasant to use for portrait
work because of the very shallow depth of field at f/1.2, coupled
with full-time manual focusing for fine adjustment. Furthermore,
Canon effectively reduced the flaring and ghosting common with
digital cameras by optimising internal lens placement and
coatings. A circular aperture is also used to maximise the
wonderful defocusing attributes of the lens at the maximum f/1.2
aperture. All told, this is the one lens that can meet the toughest
demands of professional photographers, whether shooting female
portraits with a masterful blur effect or natural scenes in natural
lighting.
a EF 85mm f/1.8 USM
This lens’s most prominent feature is its outstanding portability.
The rear focus system delivers sharp, clear images starting with
the maximum aperture. The rapid, quiet, and accurate
autofocusing is complemented by a full-time manual focus for
subtle adjustments. When taking portraits even such fine
adjustment as moving the focus from the tips of the eyelashes to
the eye itself is possible, creating a subtle yet definite change in
expressive tone. The natural soft blur effect is very attractive, and
the lens’s operability is outstanding, with a constant lens length as
well as a non-rotating front lens group to make using circular
polarizing filters even easier.
Ȝ Aspherical lens

4241
EF 100mm f/2 USM
EF 100mm f/2 USM·1/45sec.·f/2.8
Ȝ Max. diameter x length, weight: ø 75 x 73.5 mm, 460 g/ 3” x 2.9”, 1 lb.
The 100mm telephoto lens clearly communicates the
photographer’s expressive intent by capturing the subject
naturally using its slight telephoto effect.
Compared to the 85mm lens, the 100mm lens is characterised by
an angle similar to that when you look closely at an object. It also
provides a remarkable perspective compression effect, bringing
the subject together with the background, making it possible to
create photographs which seem to clip a certain composition out
of reality in accordance with the photographer’s will. And since
the subject can be emphasised in the composition of the
photograph without the necessity of being physically close to it,
portrait photography becomes easier as the model can relax and
achieve a more natural expression, without having to think about
the camera in his or her face.
Uses also include image shot photographs utilising pin-point
focus, taking full advantage of the shallower depth of field at
maximum aperture.
a EF 100mm f/2 USM
For natural looking perspective in landscape photography,
portraiture and snapshots, this large-aperture, medium telephoto
lens is ideal, and easily portable. Equipped with a rear focusing
optical system perfect for medium telephoto lenses, this lens
compensates for all types of aberration, delivering outstanding
image performance that is sharp and clear, even at maximum
aperture. Designed with portrait photography in mind, a great
deal of thought went into the natural, soft blur effect. The lens
delivers quick, quiet USM autofocusing as well as smooth full-
time manual focus. As with the EF 85mm f/1.8 USM, the lens’s
operability is outstanding, with a constant lens length as well as a
wide manual focus ring and non-rotating filter and hood mounts.
EF 100mmMedium telephoto lenses

4443
EF 135mm f/2L USM
EF 135mm f/2L USM·1/60sec.·f/2
Ȝ Max. diameter x length, weight: ø 82.5 x 112 mm, 750 g/ 3.2” x 4.4”, 1.7 lbs.
Isolating the most important part of the subject without losing
the background.
The 135mm focal length delivers the best in telephoto lenses.
Telephoto lenses are great for transmitting the feeling of the
photographer in a straight, unadorned manner. The intention
behind the photograph is easily seen by the photographer’s
selection of what to include in the composition and how to
include it, incorporating the background or emphasising one part
of the subject. The various effects of different telephoto lenses are
contained in the 135mm lens, making it relatively easy to master.
For instance, it is ideal for candid snapshots, such as shots of
children playing from across the yard. Also possible are relatively
orthodox photos, like rows of blooming flowers, taking advantage
of the overlapping effect the lens’s angle provides. And since the
shortness of the lens makes it easy to take with you, it is the ideal
lens for learning the basics of how best to use telephoto lenses.
a EF 135mm f/2L USM
This lens is perfect for indoor sports photography that takes
advantage of the f/2 brightness, and for portrait photography that
uses the beautiful shading only possible with a large aperture lens
and the nearness of the closest focusing distance (0.9m/3ft.). The
use of two UD elements effectively compensates for secondary
spectrum and ensures sharp image quality. Light mechanical parts
make this the lightest lens in its class at 750g/26.5oz. A ring-type
USM and rear focusing guarantee quick and quiet autofocusing,
and excellent performance-functionality balance makes this an
easy-to-handle lens. Equipped with an Extender EF 1.4xII or 2xII,
it can be used for AF photography at 189mm f/2.8 and 270mm
f/4. Operational ease is improved by the inclusion of full-time
manual focusing which can be used in AF mode, and non-rotating
filter and hood mounts.
EF 135mmTelephoto lenses
Ȝ UD lens

4645
EF 135mm f/2.8 with Softfocus
EF 135mm f/2.8 with Softfocus·1/15sec.·f/3.5
Ȝ Focus adjustment: Rear focusing system with AFD
The expressive power of soft focus – Perfect for portraits and
nature photography which stress the beauty of the subject.
Using the shallow depth of field characteristic of telephoto lenses,
you can cut out all the unnecessary detail, and at the same time
get the unforced expression you are looking for, thanks to the
distance between the camera and the subject. These characteristics
make the 135mm lens, along with medium telephoto lenses, very
popular for portrait photography. They are also used for landscape
photography, taking advantage of the close-up effect created by
compressing the perspective and emphasising the narrow angle of
view. And to add a bit more flavor to the final product, it is not
uncommon to use a filter to impart a soft touch to the whole
composition. In portraits, the soft filter enhances the model’s
complexion and skin tone, and in landscapes and flower
photography, it conveys a magical touch to the scene.
The soft focus technique used to draw out a mysterious beauty in
portraits of female models and flowers can be achieved several
ways. The easiest is to use a soft focus filter. These filters have
rough surfaces which disperse the light entering the lens (the
photographic light), and the resulting photograph looks like a pale
mist has enveloped the scene.
In contrast, soft focus lenses are specifically designed to use
spherical aberration, which normally decreases sharpness in a lens
and can cause “seeping,” for its softening effect. Unlike soft filters,
the image performance of soft focus lenses involves creating a
unique and beautiful world which veils the subject in a soft fuzzy
flare, while nevertheless maintaining the subject in sharp focus.
The flare is controlled to round out the image. Soft focus lenses
make taking this kind of photograph fun again.
a EF 135mm f/2.8 with Softfocus
This unique lens is the only telephoto lens equipped with a built-
in soft focus function to achieve very soft images by harnessing
the effect of spherical aberration. There are two levels of softness
which can be chosen (1 – weak, 2 – strong), in addition to level 0
which is for photographs with normal sharpness. The softness of
levels 1 and 2 can be further controlled by careful selection of the
aperture, making it possible to achieve very precise levels of
softness. Image quality with the soft focus effect is ideal for
flattering portraits and pictorial scenes, with the subject in focus
but softened with an appropriate degree of flare. Not only can the
ideal softness be achieved by moving the internal aspherical lens
element in accordance with the amount of softness desired,
aberration fluctuation caused by changes in distance is also
eliminated. And there is no need to worry about trying to
determine the correct focus position – the autofocusing system
precisely focuses the subject for the optimum soft focus effect.
Ȝ Aspherical lens

4847
EF 200mm f/2.8L@USM
EF 200mm f/2.8L@USM·1/320sec.·f/6.3
200mm lenses use perspective compression effectively to
strengthen photographic composition and expression.
Once the focal length of a lens reaches 200mm, the angle of view
becomes very narrow and compression of perspective becomes
more emphasised, making for higher tension, more powerful
images. Besides sports photography, where this lens is ideal for
bringing out the power in subjects which are often moving very
rapidly, it is also effective for the type of fashion portraiture which
eliminates the background almost completely by accentuating the
beautiful blur effect of the extremely shallow depth of field.
The longer the focal length becomes, the shallower the depth of
field becomes, making it impossible to extend the focal range
beyond a very narrow area at maximum aperture, which in turn
puts everything in front of and behind that area out of focus. One
technique that should therefore be used often with a telephoto
lens is to eliminate the background by blurring it out of
recognition and focusing only on that point you are interested in.
a EF 200mm f/2.8L@USM
This is a lightweight, compact telephoto lens that was designed
for mobility. Two UD lenses thoroughly eliminate secondary
spectrum. The new rear focus design which reduces the overall
weight of the moving lens elements and improves focusing
precision also compensates for aberrations. The lens boasts
excellent sharp, clear imaging performance at all focusing
distances. The quick and quiet AF which uses a ring-type USM
and the fine-tuned physical balance of the lens make operation a
delight. It is equipped with a large separate hood which blocks
out light very effectively. It is compatible with an optional
detachable tripod collar, which provides a stable support and can
be switched smoothly from vertical to horizontal positions and
vice-versa.
Ȝ UD lens

5049
EF 300mm f/2.8L IS USM
EF 300mm f/2.8L IS USM·1/25sec.·f/2.8
*1 Bodies: EOS-1V/HS, EOS-3, EOS-1Ds Mark II, EOS-1Ds, EOS-1D Mark II N, EOS-1D Mark II,
EOS-1D (all when using rechargeable battery pack)
*2 Based on a shutter speed of “1/focal length” seconds, said to be the limit for hand-held photography
without image stabilization.
*3 Dust-proof and drip-proof models: EOS-1V/HS, EOS-1Ds Mark II, EOS-1Ds, EOS-1D Mark II N,
EOS-1D Mark II, EOS-1D, Extender EF 1.4xII, Extender EF 2xII
Ȝ Lens construction: 17 elements in 13 groups (protective glass and drop-in filter included)
Ȝ Diagonal angle of view: 8° 15’
Ȝ Focus adjustment: Ring-type USM, inner focusing system, full-time manual focus
Ȝ Closest focusing distance: 2.5 m/ 8.2 ft., 0.13 x magnification Ȝ Filter size: 52 mm rear drop in
Ȝ Max. diameter x length, weight: ø 128 x 252 mm, 2,550 g/ 5” x 9.9”, 5.6 lbs.
EF 300mm f/4L IS USM
Ȝ Lens construction: 15 elements in 11 groups (protective glass included)
Ȝ Max. diameter x length, weight: ø 90 x 221 mm, 1,190 g/ 3.5” x 8.7”, 2.6 lbs.
The appeal of a tightly compressed perspective.
A super telephoto lens that can bring life to any picture.
The ability of these lenses to go beyond the perspective of the
human eye makes for photographs which bring a strongly
compressed perspective to the viewer – and the 300mm is no
exception, fully endowed with these characteristics, but also
capable of handling fast-moving subjects thanks to its lightweight,
compact design.
This lens is great for capturing fresh expressions, such as in
natural portraits taken from a distance so as not to intrude on the
model’s frame of mind with the camera, and slightly magical
close-ups of flowers which result in riotous or subdued splashes of
colour, depending on how the blur effect is used.
a EF 300mm f/2.8L IS USM
This is the accumulation of all the new optical technologies
Canon has, embodied in the next-generation L-type large-aperture
300mm, with a newly designed optical system. One fluorite lens
element and two UD lens elements are used to thoroughly
eliminate secondary spectrum. High picture quality with high
resolution and high contrast is achieved. The world’s fastest*1
autofocusing has been achieved by employing a ring-type USM
and improving the drive algorithm. Furthermore, equipping the
lens with an image stabilizing mechanism that compensates for
roughly two shutter speeds*2
has made it possible to get the best
performance out of it under all conditions. The closest focusing
distance has also been reduced to 2.5m/8.2ft. Operability has been
greatly advanced by adding an AF stop button and revamping the
focus preset method. Using a magnesium alloy for the lens barrel
has resulted in an ultra lightweight body which is 295 grams
lighter than before. The body has outstanding dust-proof and
drip-proof*3
characteristics. It comes with a removable tripod
collar.
a EF 300mm f/4L IS USM
In addition to the unrivalled optical performance, this 300mm
lens is characterised by outstanding mobility thanks to the image
stabilizing mechanism. In IS mode, the photographer has two
options: mode 1, which is good for still shots, and mode 2, for
many shots of moving objects. The optics includes two UD glass
elements to thoroughly eliminate secondary spectrum. With a
closest focusing distance of 1.5m/4.9ft, you can get in as close to
the subject as possible in that unique way only possible with a
macro lens. The image stabilizer also functions when using the
Extender EF 1.4xII and Extender EF 2xII to provide that elusive
600 mm shooting capability.
EF300mm f/2.8L IS USM
Ȝ UD lens Ȝ Fluorite
Ȝ UD lens

5251
EF 400mm f/2.8L IS USM·1/250sec.·f/8
EF 400mm f/2.8L IS USM
Ȝ UD lens
Ȝ Closest focusing distance: 3 m/ 9.8 ft., 0.15 x magnification Ȝ Filter size: 52 mm rear drop in
EF 400mm f/5.6L USM
*2 Dust-proof and drip-proof models: EOS-1V/HS, EOS-1Ds Mark II, EOS-1Ds, EOS-1D Mark II
N, EOS-1D Mark II, EOS-1D, Extender EF 1.4xII, Extender EF 2xII
Ȝ Max. diameter x length, weight: ø 90 x 256.5 mm, 1,250 g/ 3.5” x 10.1”, 2.8 lbs.
The real attraction of super telephoto lenses.
400mm lenses with the impact of a compressed perspective.
400mm lenses are some of the most commonly used lenses for
international sporting events such as the Olympics. These super
telephoto lenses deliver shots which are both photogenic and have
strong visual impact, such as a close-up of the focused
concentration of a runner’s expression on the starting line, or just
the right way to frame the colour and texture of a far-off
mountaintop. 400mm lenses have an even more powerful
compression effect than 300mm lenses, putting the subject and
the background right next to each other, as it were, creating more
tension in the composition of the photograph. This allows the
photographer to bring immediacy to shots of wild animals and
birds, which are generally difficult to photograph from up close,
or the driving force of an F1 racecar as it comes around a corner.
a EF 400mm f/2.8L IS USM
A 400mm super telephoto lens with a first-rate imaging
performance, plus Image Stabilization effective over two shutter
speeds. The image stabilizing mechanism used on IS lenses
provides high-speed correction control whenever vertical or
horizontal movement is detected, allowing for a greater range of
hand-held photography. It provides reliable capabilities when
used for fashion photography and sports photography performed
indoors or at night. The optical system includes one fluorite and
two UD lens elements that eliminate secondary spectrum, for
ultra high contrast and image quality. With a ring-type USM and
an improved drive algorithm, its autofocusing is the fastest in the
world*1
. The closest focusing distance has been reduced to 3m/9.8
ft., and it is equipped with full-time manual focus that does not
consume electric power. It has both focus preset and AF Stop
functions. This lens is lightweight due to the use of a magnesium
alloy for its barrel and other external parts. It offers superior dust-
proof and drip-proof*2
performance even under harsh conditions.
This is a high-performance 400mm super telephoto lens featuring
an extremely light and compact design ideal for photographers
requiring high mobility and portability. The optical system
incorporates one element made of Super UD glass and one
element made of standard UD glass, thus effectively correcting
colour aberration and delivering extremely sharp, high-contrast
imaging performance. Other features that ensure convenient
operation include a built-in hood, a removable ring-type tripod
mount, and a focus range selector that allows the user to select the
full 3.5m/11.5ft.-to-infinity distance range or restrict the range to
8.5m/27.9ft.- to-infinity.
EF 400mmSuper telephoto lenses
EF400mm f/2.8L IS USM Optical Construction

5453
EF 400mm f/4 DO IS USM
EF 400mm f/4 DO IS USM·1/320sec.·f/6.3
Ȝ Closest focusing distance: 3.5 m/ 11.5 ft., 0.12 x magnification Ȝ Filter size: 52 mm rear drop-in type
Ȝ Max. diameter x length, weight: ø 128 x 232.7 mm, 1,940 g/ 5” x 9.4”, 4.3 lbs.
A new expressiveness and mobility in super telephoto lenses
equipped with the new DO optical element that delivers compact
size, light weight, and high picture quality.
It is a fact of life that the optical systems of super telephoto lenses
grow in size and weight, which creates problems in terms of
holding them, making it almost impossible to use them for hand-
held photography as they cannot be held still enough. This causes
blurry shots which ruin the impact and visual effect that the
photographer was going after, and is a particular handicap for
field sports which require much hand-held photography. Blurry
shots are the enemy in this type of photography, so demand is
high for super telephoto lenses that are light but still deliver high
picture quality.
Big, heavy super telephoto lenses. The answer? A new technology
embodied in DO lenses.
Many different technical approaches have been taken to try to
solve the problem of how to make super telephoto lenses more
compact and lighter. The latest solution is “diffractive optical
elements” which allow interchangeable lenses for SLR cameras to
be designed more compactly, lighter, and with high picture
quality by applying optical characteristics which are unavailable
in normal refraction lens elements. At the same time, however, if
the light entering the lens is natural (white) light, part of that light
becomes diffracted and appears as flares, which has made such
characteristics difficult to apply to photographic lenses. Thanks to
a newly developed original multi-layered construction, DO lenses
have solved the problem of how to make super telephoto lenses
smaller and lighter, without compromising picture quality.
a EF 400mm f/4 DO IS USM
This is the first 400mm super telephoto lens for photography with
the new multi-layered diffractive optical elements, or DO lens
elements. It delivers unrivaled imaging performance while
keeping size and weight down to manageable levels. By
combining DO lens elements with normal refraction elements,
colour aberration is corrected to levels even higher than is
possible with fluorite elements. This lens also has the fastest
autofocusing in the world*1
. Equipped with an Image Stabilizing
mechanism and a thoroughgoing dust-proof and drip-proof*2
construction, it can be used in even the harshest weather
conditions. It also comes with an AF Stop function for outstanding
operability and mobility. The green line on the lens barrel is a
symbol of the innovative technologies used to design and produce
Canon lenses, and is shared by the Canon FL-F 300mm f/5.6
which appeared in 1969, the first SLR lens in the world to use
fluorite lens elements.
Ȝ Fluorite Ȝ DO lens

5655
EF 500mm f/4L IS USM·1/30sec.·f/22
Ȝ Diagonal angle of view: 5°
Ȝ Closest focusing distance: 4.5 m/ 14.8 ft., 0.12 x magnification Ȝ Filter size: 52 mm rear drop in
Bringing out the lens’s original performance by preventing
unwanted blur.
The 500mm super telephoto lens, going beyond human
perspective.
Follow the dynamic movement of the players on a field far away.
Get right up into the powerful action of the teams as they interact
on a soccer or rugby field. With the unique perspective
compressing effect provided by a 500mm super telephoto lens, the
photographer can put the subject and the background on almost
the same visual plane, creating a visual tension and impact that
are hard to imitate, and that make super telephoto lenses the
pleasure they are.
With a 500mm lens, however, extreme attention needs to be paid
to shaking of the hand or camera when following the movements
of a moving subject, as this will result in a blurry shot – a
common occurrence when trying to capture the action of a scene.
Many professional photographers perform hand-held photography
depending on the scene, but use of a monopod and an image
stabilizing mechanism in such situations makes it possible to take
extremely sharp photographs, even with a visual impact that is
almost surreal, using only 1/10 of the 50mm lens’s angle of view.
This very mobile 500mm super telephoto lens has the double
attraction of an original Image Stabilizing mechanism and a
bright large aperture of f/4. Its newly designed optical system
consists of 17 elements in 13 groups, including one fluorite lens
element and two UD lens elements. These have eliminated
virtually all aberrations to achieve a level of image quality
previously impossible to attain with such high contrast and
sharpness. With a ring-type USM and an improved drive
algorithm, its autofocus is the fastest in the world*1
. The lens’s
closest focusing distance has been reduced to only 4.5m/14.8ft.,
and it is equipped with full-time mechanical manual focusing,
focus preset, and an AF Stop function. The use of a magnesium
alloy for the lens barrel minimises weight and the lens offers
superior dust-proof and drip-proof*2
performance. The large f/4
aperture permits the use of autofocus when using an extender.
Image Stabilization is even more effective when combined with a
unipod, making shooting even more accurate.

5857
EF 600mm f/4L IS USM·1/80sec.·f/9
Ȝ Closest focusing distance: 5.5 m/ 18 ft., 0.12 x magnification Ȝ Filter size: 52 mm rear drop in
Ȝ Max. diameter x length, weight: ø 168 x 456 mm, 5,360 g/ 6.6” x 18”, 11.8 lbs.
Filling the frame with unapproachable subjects.
Excellent for photographing wild animals in the jungle or on the
playing field.
The photographer’s dream is to get right up close to the driver as
his racecar careens around a corner at 200mph and capture the
tension on his face, or sneak up on a hungry lion in the jungle
and capture his subdued aggressiveness digitally or on film. For
better or for worse, these acts are physically dangerous or simply
impossible, but with a super telephoto lens, the photograph is not
impossible. A 600mm lens lets you capture all those dramatic
sports and wildlife moments with the visual impact of physical
immediacy. The subtle movements of a subject moving far off in
the distance can be brought in to fill the frame, with visual
tension enhanced by the perspective compression that only a
super telephoto lens can deliver.
Normally, this class of lens requires a tripod, but with the Image
Stabilizing mechanism, all you need is a monopod for total
mobility.
This new 600mm super telephoto lens is equipped with an Image
Stabilizer system and has a large aperture of f/4, providing the
finest image performance in its class. It offers reliable capabilities
when used to photograph wild animals or field sports. The optical
system includes one fluorite lens element and two UD lens
elements that eliminate secondary spectrum, resulting in a level of
image quality with high contrast previously impossible to attain.
With its improved drive algorithm, its autofocus is the fastest in
the world*1
. The closest focusing distance has been reduced to
5.5m/18ft. In addition to using a full-time mechanical manual
focus and an AF stop function, the focus preset and other features
were improved to make it easier to use. The use of a magnesium
alloy for its principal parts has reduced its weight, making
holding and mobility better than ever. It offers superior dust-proof
and drip-proof*2
performance for outstanding photography in the
field.

6059
EF 100mm f/2.8 Macro USM
EF 100mm f/2.8 Macro USM·1/6sec.·f/5.6
Ȝ Closest focusing distance: 0.31 m/ 1 ft., 1 x magnification Ȝ Filter size: 58 mm
EF 50mm f/2.5 Compact Macro
Ȝ Focus adjustment: Front group linear extension system with AFD
Ȝ Max. diameter x length, weight: ø 67.6 x 63 mm, 280 g/ 2.7” x 2.5”, 9.9 oz.
Life-Size Converter EF
(designed for use with the EF 50mm f/2.5 Compact Macro)
Ȝ Lens construction: 4 elements in 3 groups
Making the everyday dramatic.
A macro lens for a view of the world from a cat’s point of view.
Get right up close to the plants and capture the beauty of the
patterns created by nature. Catch the moment when a butterfly
takes flight, flapping its lissome wings. For these situations, what
you need most is a macro lens, which allows close-up
photography at 1/2 magnification or life-size magnification, and
which is optically designed to have characteristics ideal for image
performance under these kinds of circumstances. With even
colour reproduction and sharpness throughout the frame, these
lenses are ideal for scientific and academic uses as well.
a EF 50mm f/2.5 Compact Macro
This compact 50mm macro lens is effective for close-up shots up
to 0.5x (1/2 life-size) magnification. A floating element
construction provides high-quality performance with sharp, clear
images, from close-up photography to infinity. With the largest
maximum aperture of any autofocus macro lens – f/2.5 – close-up
shots with shallow depth of field and general portraits with
pleasing background blur are possible.
a Life-Size Converter EF
This life-size converter is designed for exclusive use with the
EF 50mm f/2.5 Compact Macro. It allows photography with
magnifications from 0.26x to life-size (1:1). The aperture drops
one step, but the autofocusing is very fast, making for easy
shooting in close-up situations where focusing tends to be
difficult.
a EF 100mm f/2.8 Macro USM
A medium telephoto macro lens offering excellent picture quality
and close-up magnification up to life size (1:1). Optimising the
optical power distribution reduces spherical aberration fluctuation
during close-up photography, delivering constant high picture
quality over all focusing distances. The inner focusing system
makes the working distance (the distance from the lens to the
subject) 149mm during life-size photography – twice the distance
of the 50mm macro lens. Convenient operability is achieved with
the easy full-time manual focus ideal for subtle adjustments of the
focus position (a task in macro photography) and the non-rotating
front lens element. If the optional ring-type tripod mount B (B)
(with an adapter for the EF 100mm f/2.8 Macro USM) is used,
switching between vertical and horizontal compositions without
affecting the optical axis is a simple matter.
EF 50mm Compact Macro
EF 100mm MacroMacro lenses

6261
EF 180mm f/3.5L Macro USM
EF 180mm f/3.5L Macro USM·1/50sec.·f/3.5
Ȝ Closest focusing distance: 0.48 m/ 1.6 ft., 1 x magnification Ȝ Filter size: 72 mm
Ȝ Max. diameter x length, weight: ø 82.5 x 186.6 mm, 1,090 g/ 3.3” x 7.4”, 38.5 oz.
Discovering the beauty hidden in plants and bugs.
A telephoto macro lens that can peer into the universe of natural
formations.
Close-up photography involves many different subjects and
purposes, so you have to choose the macro lens best for the
situation and use it to its fullest. One of the factors that needs to
be considered is the relationship between photographic
magnification and working distance. Working distance is the
distance measured from the tip of the lens to the subject. For
example, when you want to take a life-size photograph of a
subject, the working distance for a 100mm medium telephoto lens
is double that of a 50mm macro lens. While a 50mm macro lens
is good for getting very close to the subject, if you are taking
photographs of insects and small animals, which are not so easy
to approach, a 100mm or 180mm macro lens would be a more
suitable option.
As with normal lenses, the longer the focal length becomes, the
shallower the depth of field becomes, which makes camera
movement a problem. One option is to use a 50mm with its wide
range of use for snapshots and other general photographic
purposes, a 100mm for portraits, and a 180mm for photography
of animals and other subjects which are unapproachable.
a EF 180mm f/3.5L Macro USM
This 180mm telephoto macro lens is capable of close-ups up to
1x. It is ideal for photographing insects and small animals, where
a long working distance is desirable. The focusing range can
easily be switched between 0.48m/1.6ft. to infinity and 1.5m/4.9ft.
to infinity. Use of three UD elements effectively corrects secondary
spectrum. Employing an internal floating construction ensures
sharp delineation at all subject distances. Since the length of the
lens does not change when focusing, there is no need to worry
about the lens coming in contact with the subject. The ring-type
USM delivers quiet autofocusing. Full-time manual focus is also
available. Maximum magnification can be raised to either 1.4x or
2x by using Extender EF 1.4xII or 2xII.
EF 180mm MacroMacro lenses
Ȝ UD lens

6463
MP-E 65mm f/2.8 1-5x Macro Photo
MP-E 65mm f/2.8 1-5x Macro Photo·1/13sec.·f/14
(3x magnification)
* AE photography at all magnifications (1x – 5x) is available with the following cameras: EOS-
1V/HS, EOS-1, EOS-1N/DP/HS, EOS-3, EOS-1Ds Mark II, EOS-1Ds, EOS-1D Mark II N, EOS-1D
Mark II, EOS-1D (laser matte screen must be replaced). For other EOS models, exposure
compensation is required. The actual aperture rises as the magnification goes up, so we
recommend using exposure compensation or the Macro Ring Lite MR-14EX or the Macro Twin
Lite MT-24EX.
* We recommend using commercially available focusing rails for small focusing adjustments.
[Photograph] The Photographer placed a bottle behind a glass
filled with sparkling water, and the bottle label seen through the
bubbles created an interesting effect. The world of macrophoto
lenses can open up beautiful and surprising vistas that are
otherwise invisible to the human eye.
Ȝ Lens construction: 10 elements in 8 groups Ȝ Diagonal angle of view: 18° 40’ at 1 x magnification
Ȝ Focus adjustment: Manual focus, front group linear extension
Ȝ Closest focusing distance: 0.24 m/ 0.8 ft., 5 x magnification Ȝ Filter size: 58 mm
Ȝ Max. diameter x length, weight: ø 81 x 98 mm, 710 g/ 3.2” x 3.9”, 1.6 lbs.
The true expression of a photograph – the world of macro
photography.
A macrophoto lens specifically designed to bring out that
appeal.
The fun of taking photographs is discovering whole worlds which
are invisible to the naked eye, such as when using a telephoto
lens or a macro lens. Getting right up close to a subject makes
you feel like you’ve become a small animal yourself. This feeling
of the unordinary often allows you to discover new ways of
looking at subjects which you would normally pass over. Even the
smallest movements of a bug on a rose petal or the delicate
pattern on the surface of a ceramic plate can bring gasps of
delight. Macrophoto lens are designed especially for this type of
high-magnification photography. These lens are excellent for
finding new forms of expression through macrophotography.
Since they are specially designed, they reduce aberration
fluctuation and distortion while providing good operability and
mobility for focusing and lighting. Using commercially available
focusing rails when photographing makes it easier to capture the
subject and make minor adjustments to the focus and
magnification.
a MP-E 65mm f/2.8 1-5x Macro Photo
This macrophoto lens allows expanded photography from life-size
to 5x magnification. A floating system using three lens groups has
been adopted to deliver high variable magnification in the macro
region. It effectively corrects the aberration fluctuation which
accompanies changes in magnification. With a UD lens element
as the second element, secondary spectrum, a problem during
high magnification, is minimised, guaranteeing outstanding
imaging performance. The lens is equipped with an EMD
(electromagnetic diaphragm) to deliver AE photography* Subtle
adjustments to magnification are possible using the wide ring. A
light-blocking line is incorporated into the front of the lens to
reduce inclusion when very close to the subject. It is possible to
use the Macro Ring Lite MR-14EX and the Macro Twin Lite MT-
24EX. The lens comes with a removable tripod mount which
allows smooth switching between vertical and horizontal
photography and offers solid support.
MP-E 65mm Macro PhotoMacro photo lens
Ȝ UD lens

6665
TS-E 24mm f/3.5L
TS-E 24mm f/3.5L·1.3sec.·f/8
Ȝ Focal length and maximum aperture: 24 mm 1:3.5 Ȝ Lens construction: 11 elements in 9 groups
Ȝ Diagonal angle of view: 84° Ȝ Image circle diameter: 58.6 mm
Ȝ Tilt/shift amount: ±8°/±11 mm Ȝ Angle of revolution: ±90°.
Ȝ Focus adjustment: Manual focus, overall linear extension system
Ȝ Max. diameter x length, weight: ø 78 x 86.7 mm, 570 g/ 3.1” x 3.4”, 1.3 lbs.
‘Tilt/shift’ photography – previously only possible with medium-
and large-format cameras, now available with mobile EOS
cameras.
In photography, “Shifting” involves moving the lens parallel to its
optical axis to correct distortion. “Tilting” controls the area in
focus by changing the normally perpendicular relationship
between the lens’s optical axis and the camera’s focal plane. It
used to be the case that a large-format camera was needed to
perform tilt/shift photography. However, TS-E lenses now add
both tilting and shifting functions to compact EOS cameras, which
can be taken anywhere anytime. Professional-level photography
just got a bit easier.
Tall buildings normally appear to taper to a point at the top of the
photograph when they are photographed with a wide-angle lens,
and shifting corrects this. The camera is set so that its focal plane
is parallel to the surface of the wall. Then the TS-E lens is shifted
upwards, which causes the wall surface that had been tapered, to
rise up vertically, keeping the shape of the building rectangular.
Alternatively, it is possible to emphasise the tapering of the
building. TS-E lenses can revolve within a range of ±90°, so
horizontal shift is also possible. Using this technique, you can
shoot panoramas by dividing a landscape scene into several shots
horizontally, and connecting them at the edges. Shifting is also
useful for preventing a reflection of the camera or the
photographer from appearing in pictures of show windows or
other reflective surfaces. Indeed, the number of uses is only
limited by the photographer’s imagination. The shift range on all
TS-E lenses is ±11mm, while tilting is adjustable to ±8°.
a TS-E 24mm f/3.5L
With a tilt and shift mechanism built-in, this lens greatly expands
the expressive range of any EOS camera, allowing them to do
what used to be possible only with medium and large-format
cameras – correcting perspective distortion and controlling
focusing range. This means you will have all the mobility of a
35mm or digital SLR, as well as automatic aperture control, which
allows AE photography with AEB (Auto Exposure Bracketing). It
compensates for astigmatic and other aberrations thanks to a
ground and polished aspherical lens element. A floating
mechanism incorporated into the design preserves high image
quality throughout the focusing range from 0.3m/1ft. to infinity,
while simultaneously reducing the size and weight of the lens.
This lens is particularly useful when taking photographs of
building interiors and exteriors, landscape shots, and other wide-
angle scenes.
TS-E 24mmTS-E lenses
Ȝ Aspherical lens

6867
TS-E 45mm f/2.8
TS-E 45mm f/2.8·1/30sec.·f/4
Ȝ Image circle diameter: 58.6 mm Ȝ Tilt/shift amount: ±8°/±11 mm
Ȝ Angle of revolution: 0±90°
Ȝ Focus adjustment: Manual focus with a rear focusing system
Ȝ Max. diameter x length, weight: ø 81 x 90.1 mm, 645 g/ 3.2” x 3.5”, 1.4 lbs.
Create an illusory world.
Only with the expressive power of aTS-E lens.
When performing tilt/shift photography, tilting is no less
important than shifting. By changing the angle of the optical axis
relative to the camera’s focal plane, it is possible to take a
photograph with everything in focus from near to far, as in, for
instance, a photograph of a line of pillars receding away from the
camera in an old European convent. With TS-E lenses, it is
possible to tilt the optical axis ±8°. Tilting is useful when you
want to achieve a pan-focus effect with a shallow aperture setting
and a fast shutter speed, or, on the contrary, when you want to
blur the background. Reversing the tilt drastically reduces the
area of the picture that remains in focus, so if for example you
want nothing but a person’s face in focus in a photograph, tilting
creates a unique effect.
The most important prerequisites for successful tilt/shift
photography are making sure the camera is leveled on a tripod
and checking the exact composition of the scene through the
viewfinder. Cameras with 100% viewfinder coverage such as the
EOS-1 series and/or 100% LCD monitor coverage such as EOS
digital SLRs make this easier. On cameras with interchangeable
focusing screens, a grid screen should be used to facilitate
accurate alignment of horizontal and vertical lines in the scene.
a TS-E 45mm f/2.8
When you want to maintain a natural perspective while
photographing buildings and other structures with the shift
function, this 45mm standard TS-E lens is just the answer. Its
floating mechanism combines with its rear focusing system to
ensure sharp, stable imaging performance at all shooting
distances. And since the filter mount does not rotate during
focusing, using a circular polarizer or graduated ND filter is no
problem.
[Photograph] The Photographer caught the colour of French
cuisine without a tripod. To get all the food in focus, the camera
had to be placed at a steep angle diagonally above it, tilting the
lens to get both the near and far sections into focus.

7069
TS-E 90mm f/2.8
TS-E 90mm f/2.8·1/320sec.·f/2.8
Ȝ Image circle diameter: 58.6 mm Ȝ Tilt/shift amount: ±8°/±11 mm
Ȝ Angle of revolution: 0±90°
Ȝ Focus adjustment: Manual focus, overall linear extension system
Ȝ Max. diameter x length, weight: ø 73.6 x 88 mm, 565 g/ 2.9” x 3.5”, 1.2 lbs.
A lens that won’t let you down when you need accuracy.
TS-E lenses – the appeal of being able to work in all situations.
TS-E lenses correct image distortion and adjust the area in focus by
controlling the lens’s optical axis. In order to get the best out of
these lenses, however, you need to understand more than just
making such corrections and adjustments – you have to keep a
close eye on the subject’s situation and the purpose of the shot in
order to get a solid understanding of what the best focus distance is.
The best lens for photography in places where sufficient distance
between the camera and the object is not available, such as
outside tall buildings or in small rooms, is the wide-angle
TS-E 24mm. If you want a more natural perspective, the
TS-E 45mm is the lens for you. Besides being able to be used as a
regular medium telephoto lens, the TS-E 90mm can also be used
as a macro lens. With a maximum magnification of 0.29x, plenty
of working distance can be attained, making photographs of food,
to take one example, very easy to compose effectively. For
photographs of merchandise that require an accurate
representation of the product without any distortion, these lenses
are ideal for delivering effective tilt/shift photography with a
natural perspective.
TS-E lenses feature fully automatic aperture control thanks to
their built-in EMD (electromagnetic diaphragm). Although only
manual focusing is available, only the TS-E series can offer tilt
and shift photography with AE. This is the first successful attempt
to incorporate automatic aperture control and AE photography
with AEB using a fully electronic mount, and advanced imaging
performance with easy exposure control is thereby guaranteed.
Furthermore, although TS-E lenses are manufactured with their
tilting and shifting mechanisms offset by 90°, modifications to
allow shifting and tilting in parallel are available at Canon factory
service stations.
a TS-E 90mm f/2.8
The world’s first telephoto tilt/shift lens, useful for a wide variety
of applications, from merchandise and food photography to
portraiture and nature photography. The 6-element, 5-group
Gauss-type optical system achieves outstanding imaging
performance and natural-looking blur. Focusing is possible down
to an extremely close shooting distance of 0.5m/1.6ft., enabling
effective close-up photography. A maximum magnification of
0.29x is available. Use of reverse tilt to adjust the positioning of
depth of field allows the photographer to achieve unique and
innovative photography unattainable with normal lenses even at
large apertures.
[Photograph] The Photographer captured the calmness of orchids
floating in a flower vase placed on top of a blue piece of glass,
caressed by the natural light coming in through the window. In
order to capture the depth as well as the orchids all lined up in a
row, the photographer revolved the lens 45° and tilted the
focusing surface diagonally.

71
Extender EF 1.4x@
Ȝ Max. diameter x length, weight: 72.8 x 27.2 mm, 220 g/ 2.9” x 1.1”, 7.8 oz.
Extender EF 2x@
Ȝ Max. diameter x length, weight: 71.8 x 57.9 mm, 265 g/ 2.8” x 2.3”, 9.3 oz.
Maintains the imaging performance of a master lens while
delivering focal length magnification of 1.4x and 2x.
Extenders are useful when you want to use a telephoto lens to
increase the visual impact of the subject by getting in even closer
to it, or when you simply want to reduce the number of telephoto
lenses you carry around. Not only do they increase the telephoto
effect, filling the frame with the sun, say, when taking shots of
sunrises and sunsets, but they are also ideal for close-up
photography, taking advantage of the fact that the closest focusing
distance does not change.
The biggest advantage, however, is that with a single extender you
can make more efficient use of your telephoto lens - especially a
super-telephoto lens - without sacrificing compactness or
portability. For instance, if you have a 300mm lens, you can use it
for 420mm or 600mm super-telephoto shots simply by adding the
Extender EF 1.4xII or the EF 2xII. Combining a 70-200mm zoom
lens with the Extender EF 2xII lets you put together a lens system
that can efficiently deliver zooming up to 400mm, while keeping
the size manageable. Depending on the camera, autofocusing with
the center AF point is possible with effective maximum apertures
as small as f/8. And if you are using an IS lens with the image
stabilizing function, hand-held photography is no problem, since
the function is effective for two shutter speeds*1 less than 1/focal
length seconds.
The dust-proof and drip-proof construction allows full utilization
of the lens’ capabilities for photography under the harshest
conditions if combined with EOS cameras or EF lenses with the
same dust-proof and drip-proof specifications.
a Extender EF 1.4x@
This high-performance extender increases the lens’s focal length
by 1.4 times. Not only does the actual F-stop value drop only one
step when the extender is used, but autofocusing is also
maintained with most lenses, which makes the extender
extremely useful when you need to maintain brightness or
mobility. The interior of the lens barrel has been treated
thoroughly against reflections, employing a flare-reducing high
image quality design. The Extender EF 1.4xII features dust-proof
and drip-proof construction.
a Extender EF 2x@
This extender doubles the lens’s focal length, making it ideal for
even greater visual impact during super-telephoto photography. It
has the same weather-resistant and flare reducing design as the
EF 1.4xII. Because it reduces aberration fluctuation, it does not
degrade the picture quality or performance of the master lens
itself. The effective F-stop value drops two steps.
* Compatible lenses: single focal length L-series lenses 135mm and up, as well as the EF 100-
400mm f/4.5-5.6L IS USM, the EF 70-200mm f/2.8L IS USM, the EF 70-200mm f/2.8L USM,
the EF 70-200mm f/4L IS USM, and the EF 70-200mm f/4L USM.
*1 Effective for approximately 3 shutter speeds with the EF 70-200mm f/2.8L IS USM, 4 shutter
speeds with the EF 70-200mm f/4L IS USM.
Extender use:
1. When using the Extender EF 1.4xII or EF 2xII with the EF 100-400mm f/4.5-5.6L IS USM, or when using the Extender EF 2xII with the EF 300mm f/4L IS USM, EF 400mm f/4 DO IS USM, EF 500mm
f/4L IS USM, EF 600mm f/4L IS USM, EF 70-200mm f/4L IS USM camera bodies which offer image stabilization are the EOS-1V/HS, EOS-1N/DP/HS/RS, EOS-3, EOS 7s/30V/33V, EOS 7/30/33, EOS
55/50/50E, EOS 3000N/XSN, EOS 3000/88, EOS 5000/888, EOS IX E/IX, EOS IX 50/Lite/7, EOS-1Ds Mark II, EOS-1Ds, EOS-1D Mark II N, EOS-1D Mark II, EOS-1D, EOS 5D, EOS 30D, EOS 20D, EOS
20Da, EOS 10D, EOS D60, EOS D30, EOS D6000, EOS D2000, EOS-DCS 1 and EOS-DCS 3.
2. When using the Extender EF 1.4xII with the EF 100-400mm f/4.5-5.6L IS USM, or when using the Extender EF 2xII with the EF 300mm f/4L IS USM, EF 400mm f/4 DO IS USM, EF 500mm f/4L IS USM,
EF 600mm f/4L IS USM, EF 70-200mm f/4L IS USM or EF 70-200mm f/4L USM, camera bodies which offer autofocus as long as the center measuring point is used are the EOS-1V/HS, EOS-3, EOS-1Ds
Mark II, EOS-1Ds, EOS-1D Mark II N, EOS-1D Mark II and EOS-1D.
3. When using the Extender EF 1.4xII or the EF 2xII with the EF 70-200mm f/2.8L USM, autofocus can only be used with the multi-point range finder EOS camera when using the center measuring point.

EF LENS WORK III The Eyes of EOS
September 2006, Eighth edition
Publisher and Planning Canon Inc. Lens Products Group
Production and Editorial Canon Inc. Lens Products Group
Printer Nikko Graphic Arts Co., Ltd.
Thanks forthe Cooperation of : Brasserie Le Solférino/Restaurant de la Maison Fouraise, Chatou/
Hippodrome de Marseille Borély/Cyrille Varet Créations, Paris/Jean
Pavie, artisan luthier, Paris/Participation de la Mairie de Paris/Jean-
Michel OTHONIEL, sculpteur
©Canon Inc. 2003
Products and specifications are subject to change without notice.
The photographs in this book are the property of Canon Inc., or used with the permission of the photographer.
CANON INC. 30-2, Shimomaruko 3-chome, Ohta-ku, Tokyo 146-8501, Japan

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